Over the next week or two, I’m going to provide some insight into my process in a series of time lapsed photos of a suite of drawings I made this summer at the McColl Center for their America Now exhibition. 

I’m tumbling this stuff for two reason, first, some of you (my tens of followers) might be interested, and also, to help an enterprising group of helpers at Second State Press prep and brain storm for a print project we’ll be working on very soon. 

We’ll start with this shot of the paper after laying down some ‘chance’ washes that create the ground.

Over the summer I partnered with Amanda D’Amico at The Borowsky Center for Publication Arts to create an 8 color offset lithograph as part of the 2011 Philagrafika Invitational Portfolio. The edition of 20 is for sale now.

There will also be a Portfolio Release Party at Second State Press on November 16, 2011 from 6:00 to 9:00 PM. Second State Press is located at 1400 N. American Street in Philadelphia, PA

Film Loop Installation

I did some searching and was able to find the exhibit I brought up in class the other day on the Philly Art Museum site. The piece was a film set to loop of a doll house with interchanging rooms and other items, creating a surrealist existence. It was called dolefullhouse by Japanese artist Tabaimo and was part of PHILAGRAFIKA 2010. Click the image to see the page on the museum’s site:

And once they were installed in the exhibition (magnets, no frames), I got carried away and kept on drawing and painting on the walls. I’ll post some more images of the finished work soon.


A work that is currently in progress by the Artists Patricia Gomez and Maria Jesus Gonzalez.  They’ve approached printmaking on a whole new scale and methodology than previously considered.  Their base is the Holmesburg Prison in Philadelphia, where these Artists print the interiors - all the marks, colors, graffiti, bumps, cracks, etc.

Here is the link to their project’s website.  I highly encourage you to watch the Vimeo video of them printing a room with a door.  It’s remarkable how precise these prints are, and how they go beyond taking a picture of a place - they seem to capture something about the place, some sort of texture and feeling, that is lost within a photograph.


After laying down a wash, I began building the drawings spatially working from the skyline forward, working first loosely with colored pencil, then with a pencil and ruler, then with gouache. The actual skyline is an invented mash-up from several sources.


Once the major painting is done, I go back in with graphite (usually switching to a softer lead with a blunter tip) and re-draw the key image. This can be tricky because I’ve covered it up with paint. Between muscle memory and the groove of the first key it usually starts to take shape. 


And the last two. 

I should add, that for each object, and each are of color, I usually generate three or four related color values/hues/tint, etc. to account for light and shadow, and or texture. 

It reads rather formulaic here, but this part is very intuitive, not much thinking.


Then using red or blue colored pencils I began to layout some of the architecture in the foreground. This series is about voting so I was working from dozens of pictures of polling booths from around the world.